In the history of European art music (broadly called classical music), the common practice period – spanning most of the baroque, classical, and romantic eras – lasted from about 1600 to around 1900. Sometimes, terminologies are reversed with some authorities referring to a common practice era spanning most of the baroque, classical, and romantic periods (Konečni 2009).

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Common-practice music obeys two types of musical norms: first, it uses conventionalized sequences of chords, such as I–IV–V–I (see Roman numeral analysis). Second, it obeys specific contrapuntal norms, such as the avoidance of parallel fifths and octaves.

Common-practice music can be contrasted with the earlier modal music and later atonal music. It can also be contrasted with twentieth-century styles, such as rock and jazz, that are broadly tonal but do not obey the harmonic and contrapuntal norms described in the preceding paragraph.

For example, in common-practice harmony, a major triad built on the fifth degree of the scale (V) is unlikely to progress directly to a root position triad built on the fourth degree of the scale (IV), but the reverse of this progression (IV–V) is quite common. By contrast, the V–IV progression is readily acceptable by many other standards; for example, this transition is essential to the "shuffle" blues progression's last line (V–IV–I–I), which has become the orthodox ending for blues progressions at the expense of the original last line (V–V–I–I) (Tanner & Gerow 1984, 37).

Coordination of the various parts of a piece of music through an externalized meter is a deeply rooted aspect of common-practice music, though this has gone largely unnoticed (London 2001). Rhythmically, common practice metric structures generally include (Winold 1975, chapter 3):

Clearly enunciated or implied pulse at all levels, with the fastest levels rarely being extreme

Small or moderate duration complement and range, with one duration (or pulse) predominating in the duration hierarchy, are heard as the basic unit throughout a composition. Exceptions are most frequently extremely long, such as pedal tones; or, if they are short, they generally occur as the rapidly alternating or transient components of trills, tremolos, or other ornaments.

Rhythmic gestures are repeated exactly or in variation after contrasting gestures. There may be one rhythmic gesture almost exclusively throughout an entire composition, but complete avoidance of repetition is rare.

Composite rhythms confirm the meter, often in metric or even note patterns identical to the pulse on specific metric level.

Patterns of pitch and duration are of primary importance in common practice melody, while tone quality is of secondary importance. Durations recur and are often periodic; pitches are generally diatonic (Kliewer 1975, chapter 4).

London, Justin (2001). "Rhythm, §II: Historical Studies of Rhythm". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.